Piano Moving Target Part 2

• Please first watch Part 1: • The Piano Sound Is A M...
• In Part 1, we examined a single example, C5, and examined the differences from intentionally spreading the unisons by 0.5¢, and comparing them to a tighter tuning with virtually no spread.
• In this Part 2, we examine the behavior of the C’s, from C2-C7:
• Partial Drift in Frequency; Partial Drifts in Amplitude
• Corresponding to the same window lengths and time samples set by the spectrogram parameters.
• In each case starting with the best no-spread tuning available to us.As before, we show the results from full unison coupled strings.
• The individual strings have a much simpler decay characteristic.
• The challenge to the piano tuner is to get the final result from the full couplings.
• Illustrating the significance of the Weinrich Drift and the sometimes-extreme divergence of the partials, especially the fundamental as we will see.

[@rickclark1372]

Great work! My whole life I have tuned on the sustain tail, whether by ear or ETD, because that was really the only way we could tune. I look forward to using a new method snap-shotting the pitch a fraction of a second in as suggested by your work and hearing the aesthetic result as music is played. The idea of tuning to a better standard than has ever been possible before in history is very exciting.